(This character study is part of the Pompous Film Snob’s blog event, a myriad of character studies on the sociopaths, hookers, weirdies and more that populate Quentin Tarantino’s world of Film. Visit Frank’s blog post for the complete list.)

Trauma has a profound effect on Shoshanna Dreyfus (Mélanie Laurent).

“When anger rises, think of the consequences.” ~~Confucius

Shoshanna Dreyfus, “Inglourious Basterds”

Anger is a dangerous emotion, one that can push people to their breaking points and beyond. But more dangerous than anger is the combination of anger and grief. Both are unpredictable at best; together, they pack enormous potential for explosion. And the longer anger and grief are repressed, the bigger the boom will be and the greater the fallout. In that respect, one story thread in Quentin Tarantino’s wildly revisionist/gloriously twisted WWII epic “Inglourious Basterds” — the story of bent-on-vengeance Jewish orphan Shoshanna (Mélanie Laurent) — isn’t just splashy, lurid, violent entertainment. Shoshanna’s story is a case study (and maybe a bit of a cautionary tale, too) of how powerful repressed emotions can be.

The anger and grief that Shosana eventually feeds on to fuel her vengeful plot came to her honest. To avoid certain death in concentration camps, Shoshanna and her family fled their home and went on the run, hiding in any home that would take them. In the opening of “Inglourious Basterds,” Shoshanna’s family has found refuge underneath the floorboards of a home in France. They have learned to become good at disappearing into the scenery around them. But Col. Hans Landa (Christoph Waltz), infamously and deservedly known as “The Jew Hunter,” has tracked the family to their hiding spot and orders his subordinates to shoot. Shoshanna is the sole survivor of the bloodbath, and Landa lets her escape unscathed. He seems to understand that living is a far more effective punishment than a bullet to the back of the head. At the time all Shosana feels is fear, but years later her fear has turned into a rage that roils and churns underneath her placid, pleasant face. There are fleeting glimpses of this turmoil in her clipped, then harsh dismissals of young Nazi war hero Pvt. Zoller (Daniel Brühl), an overeager suitor who volunteers her theater as the spot for the premiere of a film about his exploits. Later, in an excruciatingly tense meeting with Landa — who probably recognizes her, but we can’t be certain; his cool stare belies everything and nothing — and Joseph Goebbels (Sylvester Groth) himself, she barely conceals her anxiety, then breaks down the moment Landa leaves the table. Laurent’s control in this pivotal scene is plain remarkable. The Jew Hunter’s sudden reappearance stirs up long-buried emotions and hammers a thin crack in her façade. That one small fissure is all it takes to for the anger and the grief to bubble their way up to the surface.

This is a film just for the Nazis.

When those feelings resurface, it doesn’t take long for Shosanna to shape them into a vengeful plot to end all plots. In a way, the same man who took away her power gives it back to her. The anger, the need for revenge, trumps the fear. The same woman who cowered in that café, the very picture of meekness, has become the quiet leader of la résistance. Shoshanna’s wrath spurs her to action, and the damage, intentional and collateral, is steep. She replaces her silence with a battle cry: “You are all going to die. And I want you to look deep into the face of the Jew that is going to do it!” At the end it’s less about taking down her family’s killer as it making every living Nazi feel her wrath.

That’s not to suggest that Tarantino fancies himself a shrink; probably he gets off on watching chicks kick ass and take names. This is a director lambasted by feminists for his macho, shootout-heavy films. Still, the fact is that script for script, Tarantino writes women scorned like nobody else in the business. With every film, the women unleash more and more hell. He got off to a rollicking start with Alabama (Patricia Arquette), the tough-as-nails prostitute who delivers a brutal lashing to the goon who’s hunted her down. The Bride/Beatrix Kiddo (Uma Thurman), heroine of the “Kill Bill” films, dispatched every assassin who had a hand in her near-fatal shooting, including her mentor and lover. In 2009, Tarantino wrote his strongest character yet: a diminutive, delicate-looking woman who did her part and then some to give World War II the ending it should have had. She identified herself, to the Nazi glitterati trapped in the burning theater, being pelted with gunfire, as the face of Jewish vengeance. It is not a face — or a character — anyone will soon forget.

Pompous Film Snob has been bitten by the blog event bug — warning! alliteration overload! — of late and has invited a host of us work-for-peanuts movie nutters to participate. The topic, I’m sure you’ll agree, is a lil beaut: Pick your favorite character (major, minor, etc.) from a Quentin Tarantino film (“True Romance” and “From Dusk Till Dawn” included) and do a character study.

(Hey, PFS, do you think you could have posed a more difficult question for Tarantino groupies?)

Pop by Frank’s blog next week — actual posting date TBA — to see if your favorite character made the cut and to find out what makes him or her tick. This blogger will be deconstructing the pathology of an “Inglourious Basterds” main player, but not the one you’d expect.

Aside from the fact that this day sealed my fate as the “Never Gets a ‘Happy Birthday’ from the Teacher or Your Classmates Because School’s Out for Summer Kid,” June 28 never seemed like a terribly interesting day to be born.

Until I realized that’s also the day sublimely talented actors Kathy Bates, John Cusack, the late Gilda Radner and the late Pat “Wax On, Wax Off” Morita headed toward the light of the birth canal. June 28 also gave King Henry VIII to England (bet that’s one pregnant lady the Great Holy Aardvark wishes he could have uninseminated). And June 28 happens to be the only day every year where the month and the day are different perfect numbers*.

But really, the only reason I ever get all jacked up is because the 28th of June is when the World’s Greatest Director — the reason I love movies and the reason I have such a warped, wacko sense of humor — Mel “Lepetomane” Brooks classed up Planet Earth’s population.

This year, though, looks be far more exciting because Andy at Fandango Groovers hatched a brilliant idea: Write a post listing favorite films for every year I’ve been breathing. Later in 2010 Andy’s planning a blog event on this theme, so start thinking about your choices, readers. Without further adieu, here are my favorites from 1981-2010:

Ash will saw off your nose.

1981:“The Evil Dead” — Maybe directors did horror-comedy before Sam Raimi’s cult classic, but those movies did not feature the unstoppable Bruce Campbell as erstwhile hero Ash, who would later go on to coin the phrases “boomstick” and “hail to the king, baby.”

1982: “First Blood” — The first in the Rambo franchise, Sly Stallone’s “First Blood” combines jaw-dropping action, buckets of bloodshed and a surprisingly poignant message about the treatment of Vietnam vets in America.

1983:“The Big Chill” — College pals Glenn Close, Tom Berenger, William Hurt, Kevin Kline and Jeff Goldblum reunite to mourn a friend’s suicide. This much acting talent on one set is a recipe for goodness.

1984:“Blood Simple” (full review) — The fact that this is Joel and Ethan Coen’s first film is almost as astounding as the film itself. Almost.

1985:“The Breakfast Club” — The late John Hughes showed us, in this poignant ode to real teen issues, that lurking inside everyone there’s a princess, a jock, a brain, a basket case and a criminal in search of connection. And a little doobage.

1986:“Aliens” (full review) — Twenty-four years later and Ellen Ripley (Sigourney Weaver) remains a female action hero with smarts, guts and muscles. What a novel idea.

1988:“Waxwork” (full review) — There are crappy films, and then there are films that revel and delight in their own crappiness. Guess which kind “Waxwork” is.

1989:“Heathers” (full review) — No matter how cruel the queen bees in your school were, they don’t hold a candle to Idi Amin wannabe Heather Chandler.

1990:“GoodFellas” (full review) — Powered by the performances of Joe Pesci, Paul Sorvino, Lorraine Bracco, Robert De Niro and Ray Liotta, “GoodFellas” set the bar for gangster movies impossibly high.

1991:“Terminator 2: Judgment Day” — The follow-up to Cameron’s impressive “Terminator,” the sequel blasted the volume up to 11, boasted some thrilling chase scenes (the semi rundown is iconic) and reached the level of Whoa, I’ve Never Seen That Before! with its ice-cool villain T-1000 (Robert Patrick).

1992:“Reservoir Dogs” (full review) — Quentin Tarantino gives the Cuisinart treatment to the traditional caper-gone-wrong and ends up making one of the most inventive films of the ’90s.

1993: “Schindler’s List” — Steven Spielberg’s sweeping, horrifying and heartbreaking retelling of the story of Oskar Schindler (Liam Neeson) mission to rescue Jews during the Holocaust is emotionally punishing, but it’s a film that must be seen. It can change your life if you let it.

1994:“Pulp Fiction” (full review) — It’s got John Travolta and Samuel L. Jackson as hitmen, a booty-shaking soundtrack and scene about Christopher Walken wearing a watch up his ass two years. That’s all you need to know.

1996:“Fargo” (full review) — Dear Coen brothers: Thank you for showing me that it’s never impossible to take an old formula (best-laid plans gone to hell) and put a devious, violent spin on them. Sincerely, M. Carter @ the Movies

1997: “Chasing Amy” — Too few directors of romantic comedies have no interest in showing relationships as they actually are. Kevin Smith is not one of these directors. His “Chasing Amy” is raw, frank to the point of crudeness and deeply heartfelt, and it examines the problems all lovers — gay and straight — face.

1998:“The Opposite of Sex” — “The Opposite of Sex” is the best black comedy you’ve never seen. Don Roos puts the screws to the traditional narrated film formula with Dee Dee (Christina Ricci), a heroine who may be plucky but isn’t the least bit lovable. She’ll ransom your dead gay lover’s ashes and not think twice about it.

Move Milton's (Stephen Root) desk to Storage Room B and see where that gets you.

1999:“Office Space” (full review) — Mike Judge takes a maze of cubicles and turns it into a feature-length film that’s the personification of Dante’s limbo, then sets it to a fantastic rap soundtrack. It’s good to be a gangsta.

2000:“Quills” (full review) — No other actors slips so effortlessly into the part of the villain as Geoffrey Rush can, and that mirthful, slightly evil glint in his eyes makes him the perfect (and only acceptable) choice to play the infamous Marquis de Sade.

2001:“The Believer” — Based on the true story of Dan Burros, a Jew who became a Neo-Nazi, Henry Bean’s “The Believer” looks unflinchingly at all aspects of faith and features what may be Ryan Gosling’s most gripping performance. Ever.

2002:“City of God” — Fernando Meirelles’ crime drama plays out like an elegaic marriage of the best parts of Martin Scorsese’s “GoodFellas” and Charles Dickens’ “Great Expectations,” capturing the bloody, grim realities of a life lived in Brazil’s rough Cidade de Deus (City of God) favela.

2003:“Mystic River” — Author Dennis Lehane understands, deep down in his soul, the rhythms of Boston’s shady, bleak underworld. Director Clint Eastwood understands the people who have fallen through the cracks. Together, “Mystic River,” about three childhood friends dealing with a murder, they make an unbeatable team.

Javier Bardem's performance is anything but bleak.

2004:“Mar adentro” (full review) — Is it possible to make a film about a quadriplegic (Javier Bardem) who wants nothing more than to die and have that film turn out to be an affirmation of life? Look to “Mar adentro” for the answer.

2006:“The Lives of Others” (full review) — Movies about Big Brother rarely take the time to humanize the enemy, but director Henckel von Donnersmarck finds humanity even in the most ardent supporter (Ulrich Mühe) of suppressing free will.

2007:“No Country for Old Men” (full review) — Call it the Coens’ Law: Every time you think they’ve made their best movie ever, they top themselves. How they’ll top this gritty, violent and blackly funny caper is something this reviewer has gotta see.

2008:“The Dark Knight” — With “Batman Begins,” Christopher Nolan single-handedly revived a years-ailing franchise; in the inspired sequel — part Greek tragedy, part action flick, part sweeping character drama — he let Heath Ledger reinvent the iconic Joker in the spirit of creation.

Get in my bell-ay, Jew Hunter!

2009:“Inglourious Basterds” (full review) — In terms of sheer imagination and cojones, almost no director working today can match Quentin Tarantino, who in this misspelled epic rewrites the ending to WWII and gives cinema one of its greatest villains (Christoph Waltz).

So you find yourself, in true “Lost” fashion, stranded on a desert island in the vast sea, with nothing but your wits, your wiles and your good looks to keep you company. (OK, so it sounds a little nonsensical. Life doesn’t always have to make sense, does it? Willingly suspend your disbelief, people.) Since there’s no sunscreen, the sun’s going to dispatch that lovely complexion right quickly. With no one to parlay to your thrust in verbal jousting matches, the wit will be the first to go. And since there are no objects of lustful desire, the wiles, well, they aren’t worth a fig.

But wait! Suddenly you remember that you had the forethought to pack not one, not two but eight DVDs before the terrible stranding went down! Because you, die-hard movie lover, unlike 98 percent of the world’s population, know what’s really important: not sunscreen or non-perishable canned goods or a first aid kit or even a chummy volleyball named Wilson, but films. A world without water is palatable, but a world without movies?

That’s just crazy talk, is what that is.

Here’s my humble list of eight movie-films — divided into what I deem to be eight “essential” categories or groups — I’d require to keep me entertained on this neverending island venture:

Action

Why: Despite the a-changin’ times Bob Dylan crooned about, strong female action heroes remain in short supply in the world of film. And so James Cameron’s tense-as-hell, gripping, action-dense thriller stands apart because of Ellen Ripley (Sigourney Weaver), a fierce heroine who throws punches with the best of them yet retains that elusive quality — empathy — so little seen in action heroes. With Weaver’s iconic, brilliant performance, every viewing of “Aliens” feels like the first time.

Comedy

Why come I picked this: You were expecting something a little “Holy Grail”-ier, perhaps? No offense to the Greatest Movie Ever Made, but there are times when British tomfoolery hits the spot and times when a desert island dweller wants to see that the world-at-large — poor people, with their dwindling IQs and those climbing Costco Law School prices — is far, far worse off than she is. Plus, there’s nothing like 10 seconds of “Ow, My Balls!” to clear those island doldrums riiiiight up.

Drama

Why: Back in his younger days, Marlon Brando wasn’t just a contender, he was THE contender — for coolest cat in any room, best method actor alive, name the category and he’d be fighting for a top spot in it. Though his career is studded with amazing and accomplished performances, his turn in “On the Waterfront” as one-time boxer Terry Malloy shows the actor in total command of his gifts. Pair that with a stellar ensemble cast (including heavyweights Lee J. Cobb and Karl Malden) and it’s a knockout. Every time.

Foreign

Why: Some people like their thrillers fast-n-furious, with lots of explosions and a juggernaut soundtrack that drowns out any hope of character interaction. Me, I like a slower burn that takes longer to take effect but packs a whallop when it does. Florian Henckel von Donnersmarck’s beautiful film about 1984 Socialist East Germany, living under the thumb of the Stasi secret police, fits that bill and contains a stunning performance by the late Ulrich Mühe. This is a movie that will change your life.

Horror

Why: Cast aside all thoughts of the 85 remakes that followed John Carpenter’s low-budget 1978 classic that frightened viewers everywhere way, way down in their primal scare spots — they matter not. The original “Halloween” has no equal, for no other horror film has managed to create a character 1/16 as terrifying as Michael Myers, a masked force of evil that cannot be stopped. Carpenter outdid our imaginations in ways that still make us cry “uncle,” and that’s one hell of an achievement.

Independent

Why: Sometimes stories are compelling because the characters are extraordinary, or their deeds are, or their circumstances baffle or astound us. This is not the case with “The Station Agent,” an unassuming but enormously touching independent film about three wildly different people who, through nothing more than proximity and chance, stumble into one another’s company and discover they share one thing: loneliness. Never underestimate the power of simple human connection to touch the soul.

Romantic Comedy

Why: Love stories that don’t follow a traditional arch, that take bold risks and play about with our sense of time and space and memory, are rare, so when you find a good one the tendency is to hold on tight. Few romantic comedies manage to be as poignant, achingly bittersweet and unexpectedly funny as Michel Gondry’s “Eternal Sunshine of the Spotless Mind,” an unconventional tale of two lovers that suggests, gently but clearly, that sometimes love does not conquer all or end in smiles and rainbows.

War

Why: Quentin Tarantino is a director who delights in messing with our heads, taking what we know of linear storytelling and throwing it in a Cuisinart; for him, originality is king. In that respect, “Inglourious Basterds” may well be his one true masterpiece, at once a tongue-in-cheek rewrite of World War II’s ending, a war film, an ensemble drama, a madcap comedy, a wild adventure. And now that I’ve seen it once, I can’t spend another second of my life without Christoph Waltz in it.

Well, that’ll learn me not to make a yearly best list without seeing all the films out there. And thank you, Kathryn Bigelow, for that most useful little lesson.

Redoing these lists isn’t something I normally do (whether out of obstinance or laziness I don’t know), but Bigelow’s tense and amazing “The Hurt Locker” blasted its way into my heart and left behind an uneasiness that lingered for hours after viewing. In short, it demanded its rightful spot in my list … and with a film this outstanding, I’m more than happy to oblige.

(Oh, and “Hangover” — I’m sorry we had to break up, but … I found someone better.)

Never underestimate a Jew hunter (Christoph Waltz) who speaks softly and carries a HUGE pipe.

With most directors, it’s hard to know if they know when they’ve created a masterpiece. Not so with Quentin Tarantino, who concludes “Inglourious Basterds,” a gloriously loud, darkly comic and explosively complicated epic, with what seems like a statement of his genius. Really, though, can we blame him? “Inglourious Basterds” works as a brilliant piece of revisionist history, a kickin’ action flick, a layered character study (the most intriguing character being, of course, Christoph Waltz’s fabulously wily Col. Hans “Jew Hunter” Landa) and a technicolor work of art. Bravo, Mr. T. Bravo.

Jeremy Renner and Anthony Mackie show the spoils (and horrors) of war in "The Hurt Locker."

Roger Ebert, in his review of “Up in the Air,” insisted it was “a movie for this time.” It’s an apt and accurate observation, indeed, and it also applies beautifully to Kathryn Bigelow’s gripping “The Hurt Locker,” which throws us right in the uncomfortable, bloody, unsentimental middle of the War on Terror. Relative nobody Jeremy Renner gives the performance of the year as SSG William James, a reckless adrenaline junkie willing to sacrifice everything — including the safety of his fellow soldiers — to get his next fix. That performance and Bigelow’s confident direction make “The Hurt Locker” not just a great war movie, but one of THE great war movies.

Airports are home to George Clooney, who makes for a most touching aimless drifter in "Up in the Air."

To watch “Up in the Air,” Jason Reitman’s gutsy and achingly beautiful third film, is to witness a director coming into his own — though “Thank You for Smoking” and “Juno” hardly felt like the work of a novice — at the precisely correct moment. With “Up in the Air,” Reitman shines an unwelcome light onto the harsh yet strangely hopeful world of corporate downsizing, unemployment and the speedily tanking economy. The never-better George Clooney becomes the face and voice of this world, a drifter who eventually learns what we all know: Any man who insists he’s got life all figured out is twice as clueless as the people he’s lecturing.

Films don’t get much rougher or rawly acted than Lee Daniels’ “Precious,” adapted from Sapphire’s best-selling novel “Push.” At times difficult to watch, “Precious” nonetheless introduces us to newcomer Gabourey Sidibe, who is a revelation as the Bronx-born Precious. The teen, rendered practically mute by the horrors of her life, endures unspeakable emotional and physical abuse at the hands of her vicious mother (Mo’Nique, who most assuredly deserves a Best Supporting Actress nod). Sidibe — and Daniels — manage the impossible here: to find hope in a life where none, rightly, should exist.

5. “Up”

Dreams deferred, then recovered, come to vivid life in Disney-Pixar's touching "Up."

There’s something about youthful dreams that never, ever get old. Disney-Pixar’s “Up” takes this never-aging concept and runs with it in “Up,” a sweet, very funny and often heartbreaking look at an elderly man’s (voiced by Ed Asner) stubborn refusal to let go of his late wife’s dream to travel the wilds of South Africa. How he goes about achieving that decades-old goal boggles the mind in terms of bright, gorgeous animation. But visuals aside, what “Up” does so wonderfully well is tap into our secret hope that it’s never too late to try again for the heart’s strongest desire.

Joseph Gordon-Levitt memorably discovers that not every love is eternal in "(500) Days of Summer."

Try as we might, humans can’t force love — or, at the very least, our memories of it once it’s vanished — to follow a neat-and-tidy timeline. Neither will it conform to the molds we attempt to force it into. “(500) Days of Summer,” a painstakingly constructed yet fragmented tale of love lost, drives home these points through Joseph Gordon-Levitt, a 20something convinced a coworker (Zooey Deschanel) must be The One. He’s wrong, very wrong, we learn in the opening credits, and thus “(500) Days” becomes a different kind of love story — the painful kind, but the one most likely to stick with us once the credits roll.

Summer blockbusters often get snubbed come Oscar time (remember what happened with “The Dark Knight”?) on the basis they lack any substance beyond the visual pyrotechnics and the glitter. Count “Star Trek” out of that lot, for this is the other kind of summer blockbuster — the one that has it all, from the visuals to the special effects to great acting (found everywhere, but especially in the performances of Chris Pine, Zachary Quinto and Leonard Nimoy) and first-rate writing. “Star Trek” is a treat for the senses, all of them, and a much-needed shot of epi to the dying “Star Trek” franchise.

James Gray, with “Two Lovers,” does something most extraordinary: make a movie about a romantic triangle that eschews melodrama and focuses instead on affecting character growth. At the center of this character study is Leonard (Joaquin Phoenix), a shifty soul reeling from his fiancee’s departure who falls for two women: the beautiful but equally unstable Michelle (Gwyneth Paltrow) and Sandra (Vinessa Shaw), the kind daughter-of-a-family-friend who senses Leonard’s troubled nature and wants to help him. The strong performances lead to a resolution that’s poetic, somehow unspeakably sad and not the least bit maudlin.

James Bond ain't got nothin' on whistleblower Mark Whitacre, a spy of his own creation, in "The Informant!"

A story about one of the world’s biggest (and strangest) tattletales, Mark Whitacre (wonderfully portrayed by Matt Damon), sounds intriguing enough. Then in marches Stephen Soderbergh to direct, and, well, it’s all over from that moment on. Soderbergh, with his trademark verve and style, transforms the story of Whitacre, who blew the whistle on ADM’s price fixing racket, from a corporate thriller to a jaunty but deeply sad venture into the mind of Whitacre, who concocted such an elaborate, crazy scheme even he couldn’t wrap his fragile little mind around it. Credit Damon, at his best, for taking a buffoon and turning him into an oddly sympathetic Everyman.

“Brothers,” much like “The Departed,” offers solid proof that remakes should not be discounted out of hand. Based on a Danish film, Jim Sheridan’s “Brothers” stands as a fine creation on its own, a penetrating look at the effect war — particularly in the realm of Post-Traumatic Stress Disorder — has on families. Tobey Maguire is sheer dynamite as Capt. Sam Cahill, who escapes an Afghani prison camp but comes home to his wife (Natalie Portman) and worried brother (Jake Gyllenhaal) a broken, dangerous man. “Brothers,” with its wrenching but never showy performances, makes us feel the knife edge of his desperation and the way it slices clean through his family harmony.

Honorable mentions: “The Brothers Bloom” for its first-rate cast (Ruffalo, Weisz, Brody); “Jennifer’s Body” for its clever dialogue, genius reversal of the teen-girl-as-hapless-victim sentiment informing most horror films and a career-making performance by Amanda Seyfried; and “Zombieland,” which glides in on sheer gross, witty fun.

"What do you mean I didn't get an Oscar nomination? I gained 40 POUNDS!"

Every year begins with the same blasted vow: I won’t wear my heart on my sleeve. I won’t get sucked in. I’ll be strong and aloof. In short, I swear I won’t let myself get emotionally involved in the Oscar race.

PFFFFFFT. Go on. Now pull the other one.

Yeah, so that never happens. Never comes close to happening. It’s all gibberish. Maybe my real resolution should be that one of these days I might flush all these delusions of keeping my heart out of the Oscar race down le porcelain bowl … but it won’t be this year! Especially not this year, when the Best Picture race got expanded to 10 (what a nice, big, fat round number, no?), a sure signal that the Academy had opened its ranks to deserving films that, before, never would have had a chance.

While that may be true (say what you want about “Avatar,” but rare is the blockbuster that crashes the Best Picture ball), in true Academy fashion these snobbish cats have doled out some fairly glaring and some just-plain-wrong snubs. They are as follows:

Best Picture / “Star Trek,”“Two Lovers” — Mental gymnastics are required to reason out why “Avatar,” with its amazing visuals and so-so storyline, merited an Oscar nod while “Star Trek” did not. J.J. Abrams’ energetic, heartfelt summer blockbuster is nothing short of a total reinvention. Thrilling action, special effects, wit, verve, inside jokes, great acting — “Star Trek” has them all in spades. James Gray’s “Two Lovers takes what could have been a Lifetime TV movie — an aimless, emotionally damaged man (Joaquin Phoenix) torn between two women — and turns it into a nuanced character study with almost no melodrama, and a very fine motion picture deserving of some statues.

Best Actor / Damon, Maguire, Phoenix — Oh, the triple negligence the Academy has perpetrated in this, its 82nd awards season. First is their thoughtless brush-aside of Matt Damon, who comically and painfully captured the disordered mind of whistleblower Mark Whitacre in Stephen Soderbergh’s deceptively jaunty “The Informant!” (His acting there was better than “Invictus.”) Second was the blatant disregard of Tobey Maguire’s blistering portrayal of a POW so ruined by war that he cannot reclaim his family and life in “Brothers.” Last but for certainly not least is the absence of Joaquin Phoenix’s name, which is a travesty considering his troubled Leonard Kraditor in “Two Lovers” may be the most haunting, commendable piece of acting he’s ever done.

Best Actress / Abbie Cornish — In the Focus Features 2006 film “Candy,” Abbie Cornish gave us a glimpse of her blossoming talent, but in “Bright Star,”* about Romantic poet John Keat’s short-lived, passionate romance with Fanny Brawne, she emerges fully formed. She gives beaming vitality, spirit and life to one of poetry’s greatest-known muses, and for that she deserves much, much acclaim. Why, Academy, do you insist on withholding the love?

Best Supporting Actress / Laurent, Rossellini — Considering the hot, exhilarating mess of a spectacle that is “Inglourious Basterds”, perhaps it’s inevitable that someone would get lost in the mix. That someone, however, should not be Parisian actress Mélanie Laurent, for her Shosanna is the emotional center of the film; her outstanding one-on-one with Waltz in the cafe should have cemented that award. Isabella Rossellini, who plays Leonard’s worried mother in “Two Lovers,” is no less subtle or devastating. Her quiet performance is a thing of beauty, and it’s the crowning achievement of a career that hasn’t had that many.

Best Original Screenplay / “The Brothers Bloom” — Rian Johnson is the man who gave us “Brick,” that outrageously stylish mix of gumshoe talk and teen hormones. And now this, a wildly twisty dramedy about two conmen brothers — one wants out; the other turns long cons into art — and the rich, innocent mark they’re about to bilk out of millions. Is it arty, maybe a bit too arch and complex? Maybe. Does it possess the kind of fiendish cleverness and originality Hollywood sorely lacks? Abso-damn-lutely.

Best Original Song / “Stu’s Song” — I’m not about to argue that “Stu’s Song,” hilariously performed by Ed Helms in “The Hangover,” is overflowing with the emotional depth of, say, “The Weary Kind” or has the glitter-and-sequins of “Take It All.” But it’s still an tremendously funny tune that manages to be clever and neatly sum up what “The Hangover” is all about. And that last line is PRICELESS.

Yes, I know the history of cinema is filled with do-gooder types who rob from the rich, give to the poor, cuff up the bad guys and try, in their kind-hearted ways, to rid the world of wrongdoing. I even know that these men and women usually end up celebrating with pints while the other guys rot in prison cells or asylums or push up daisies. These characters, the good guys with honorable intentions and clean consciences, they have their shining moments.

But the villains? Well, the villains are way more interesting.

Twisty and edgy and scary, they do it for me. Always have. To be fair, though, who doesn’t love a great villain? There’s something about the vicarious thrill of watching the bad eggs do all the things we don’t have the guts to do. And the really crazy ones — the Norman Bates types, the killers and the maniacs — they fascinate us too. The dark side of human nature, the cobweb-covered hidden parts of the psyche, draw us in.

So how’s about I initiate a little celebration of villainy (the good guys get enough press, if you ask me) with this list of 10 awesomely mean-spirited, wily and just plain evil villains:

1. Little Bill Daggett, “Unforgiven” — “You have never hated anyone in your entire life as much as you hate Gene Hackman in this movie” insists my friend Jason the Comedian, and damn if he isn’t right. There’s no villain more hateful than the amoral, swaggering, ruthless Little Bill Daggett in Clint Eastwood’s “Unforgiven.” He is the human embodiment of villainy, evil incarnate, and he eyes everyone he meets the way a lioness sizes up a limping gazelle. Emotions don’t concern him; people mean nothing; murder merits not a second thought. Bill’s stunning lack of humanity solidifies his spot as the meanest bad guy of all-time.

Col. Landa speaks softly, but he carries a big pipe.

2. Colonel Hans Landa, “Inglourious Basterds” — In the process of writing, directing and producing one of the best films of 2009, that brainy sicko genius Quentin Tarantino created Col. Hans Landa (Christoph Waltz), a smooth-talking Jew hunter possessed of probing intellect, unbelievable cunning and lacerating wit. This wily chap, who treats everything as a social experiment, takes such pure delight in seeking out and devouring weakness it’s impossible not to laugh along with him. Just don’t lie to him. Ever.

3. Max Cady, “Cape Fear” — What makes Max Cady (Robert Mitchum in ’62, DeNiro in ’91) such an iconic villain is his pure, unyielding relentlessness. Single-minded to the point of murder, he refuses to stop his mission to rain down a vengeance storm upon the lawyer who put him in prison. His determination — which leads to a most unsettling, nightmare-inducing car trip — makes him practically invincible. And everyone knows that there’s nothing scarier than evil you just can’t kill.

Disrespect Chigurh's bob at your own peril...

4. Anton Chigurh, “No Country for Old Men” — Before the Coen brothers’ eerily calm, otherworldly assassin Anton Chigurh strolled into our lives, we never had any reason to fear cattle guns, Buster Brown coiffures or coin tosses. Now we can’t pick stray pennies off the ground without shuddering. Writer Cormac McCarthy created this iconic figurehead of evil, but Javier Bardem brings him to wicked, freaky life in Oscar-worthy ways. Chigurh’s the kind of baddie you won’t soon forget.

5. The Joker (Heath Ledger), “The Dark Knight” — If it’s true there’s nothing scarier than a bad guy who refuses to die, it’s also true that nothing inspires a mean case of the wiggins like a villain who has no logical reason for anything he does. In his role as The Joker, the late Ledger went to dank, unsavory depths to create a character so raving mad he lights mountainous heaps of cash on fire and drives pencils in the craniums of hardened goodfellas. The Joker’s beyond reason, and that makes him one seriously terrifying mischief-maker.

6. Annie Wilkes, “Misery” — For some reason, the really frightening movie villains always seem to be male, or non-human, or both. Not so with Kathy Bates’ startling turn as disturbed psycho fan Annie, a character so creepy she probably lurks in the mind of every writer who hits the NY Times best-seller list. Bates makes us feel (figuratively and literally) the hammer blows of Annie’s rage. Then, in a flash, she turns sweet, accomodating and gentle … and that’s when the real chills come calling.

7. Keyser Soze, “The Usual Suspects” — Something tells me Bryan Singer had no idea the mysterious bad guy who wielded immeasurable power in 1995’s film noir hit would become such a pop-culture icon. After all, how can we fear a villain who has no face? It has everything to do with the “things you don’t see are scarier than the things you do” principle. The fact we don’t see him only heightens the anxiety. There’s not much more horrifying than a bad guy who’s everywhere and nowhere all at once.

When Hopkins is done with you, you'll never drink Chianti again.

8. Dr. Hannibal Lecter, “The Silence of the Lambs” — No list of iconic evildoers would be complete without the name “Hannibal Lecter” on it, but that’s not why he merits inclusion. Lecter’s scare power, as played by Sir Anthony Hopkins, comes from his uncanny ability to read people’s darkest secrets and use them to get exactly what he wants (there’s a bit of Lecter in Col. Landa, it seems). That he’s also a cannibalistic serial killer is almost beside the point — he rips into human frailty like a plate of fava beans. How tasty and terrifying.

9. Casanova Frankenstein, “Mystery Men” — Sometimes villains don’t have to be scary to make a big impression on us. Nobody knows that better than Geoffrey Rush, who makes being bad look so effortlessly cool as Casanova Frankenstein, the glib, supersmart supervillain (he invented a cholorform-deploying portable enticement snare!) out for the blood of the dim Captain Amazing (Greg Kinnear). He’s witty, charming and deliciously mean-spirited. Who needs murder and mayhem, again?

10. Joan Crawford, “Mommie Dearest” — Moms, according to our collective human consciousness, are supposed to be kind, warm and comforting. So when a movie mom goes off the grid — in the all-noble way Faye Dunaway does in “Mommie Dearest” — it’s the stuff of paralyzing night terrors. Also, there’s a very good reason wire hangers have fallen out of fashion. Watch this movie if you’re screaming to know why.